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For eight seasons between 2001 and 2010, Fox’s 24 garnered critical accolades and became one of the most watched and discussed shows in primetime. In an innovative premise, the show’s hour-long episodes were meant to represent a real-time hour of the story, so that each twenty-four-episode season depicts a single day in the life of its characters. Influential as a popular hit, 24 was also closely linked with the “culture of fear” that dominated the post-9/11 period. In this insightful study, author John McCullough demonstrates that the series was not only unique and trendsetting, but also a complex creative response to its historical context. In three chapters, McCullough looks at 24’s form, style, and overarching themes and meanings. He argues that although the series is driven by the political and cultural shifts brought on by the War on Terror, it is routinely out of step with real history. Using Linda Williams’s distinction between the melodramatic mode and melodrama as a genre, McCullough explores 24’s use of the action-adventure and spy thriller forms with particular attention paid to the series’ hero, Jack Bauer, who is depicted as a tragic hero perpetually in search of a return to innocence. Ultimately, McCullough finds that the series’ distinction lies less in its faithful re-creation of the history of the WOT than in its evocation of the sense of crises and paranoia that defined the period. McCullough also analyzes 24 as a response to television culture in the “post-network” age, characterized by reality TV’s populist appeal and visceral content, on the one hand, and sophisticated boutique cable programming (“quality TV”), on the other. McCullough demonstrates that 24 engaged not only with the most pressing issues of world history and the geopolitics of its time, including terrrorism, neoliberalism, and the state of exception, but, on the strength of its form and style, also represents significant global trends in television culture. Fans of the show and media history scholars will appreciate this thorough study.
On Citizenship and Orientalism in Postcolonial India
From Aristotle to Seneca, ancient philosophers considered anger to be aggressive and incompatible with rational conduct, and later thinkers associated this "illogical" emotion with femininity and its flaws. In Acts of Angry Writing: On Citizenship and Orientalism in Postcolonial India, author Alessandra Marino looks at anger differently, as an essential condition for writing in contexts of struggle. Analyzing the activist literature and autobiographical writings of Indian writers Mahasweta Devi, Arundhati Roy, and Sampat Pal, Marino sheds light on anger as a trigger for the political writing where struggles for the basic rights of indigenous people and lower castes are fought.Acts of Angry Writing is divided into four parts. In the first two, Marino focuses on Roy and Devi to analyze the relation between the authors' works and some of the most famous actions of social protest in which they have been involved. In the third part, Marino examines the representation of anger as a productive emotion in Warrior in a Pink Sari, the autobiography of Sampat Pal, a telling example of the close relation between literature, social reality, and ongoing political debates.Marino concludes by reflecting on the link between an ethical call that initiates acts of social protest and the writing related to active citizenship movements in contemporary rural India.Acts of Angry Writing will be informative reading for scholars in a range of fields, from cultural and postcolonial studies to gender studies, South Asian studies, and citizenship studies. Its rich discussion of performativity and speech acts theory bridges the gap between the fields of literary theory, law, and citizenship.
A History of the United States Bankruptcy Court for the Eastern District of Michigan
Bankruptcy law is a major part of the American legal landscape. More than a million individuals and thousands of businesses sought relief in the United States' ninety-three bankruptcy courts in 2014, more than twenty-seven thousand of them in the Eastern District of Michigan. Important business of great consequence takes place in the courts, yet they ordinarily draw little public attention. In Adversity and Justice: A History of the United States Bankruptcy Court for the Eastern District of Michigan, Kevin Ball takes a closer look at the history and evolution of this court.Using a variety of sources from newspaper accounts and interviews to personal documentation from key people throughout the court's history, Ball explores not only the history of the court from its beginning in the late nineteenth century but also two major courthouse scandals and their significant and long-lasting effects on the court. The first, in 1919, resulted in the removal of a court referee for a series of small infractions. The second was far more serious and resulted in the resignation of a judge and criminal convictions of the court's chief clerk, one of his deputies, and one of Detroit's most prominent lawyers.The book culminates with a comprehensive account of the city of Detroit's own bankruptcy case that was filed in 2013. Drawing on the author's expertise as both a longtime bankruptcy attorney and a political scientist, the book examines this landmark case in its legal, social, historical, and political contexts. Anyone with an interest in bankruptcy, legal history, or the city of Detroit's bankruptcy case will be attracted to this thorough case study of this court
The Wailing Culture of Yemenite Jewish Women
The term “wailing culture” includes an array of women’s behaviors and beliefs following the death of a member of their ethnic group and is typical of Jewish life in Yemeni culture. Central to the practice is wailing itself—a special artistic genre that combines speech with sobbing into moving lyrical poetry that explores the meaning of death and loss. In Aesthetics of Sorrow: The Wailing Culture of Yemenite Jewish Women, Tova Gamliel decodes the cultural and psychological meanings of this practice in an ethnography based on her anthropological research among Yemenite Jewish communities in Israel in 2001–2003. Based on participant-observervation in homes of the bereaved and on twenty-four in-depth interviews with wailing women and men, Gamliel illuminates wailing culture level by level: by the circles in which the activity takes place; the special areas of endeavor that belong to women; and the broad social, historical, and religious context that surrounds these inner circles. She discusses the main themes that define the wailing culture (including the historical origins of women’s wailing generally and of Yemenite Jewish wailing in particular), the traits of wailing as an artistic genre, and the wailer as a symbolic type. She also explores the role of wailing in death rituals, as a therapeutic expertise endowed with unique affective mechanisms, as an erotic performance, as a livelihood, and as an indicator of the Jewish exile. In the end, she considers wailing at the intersection of tradition and modernity and examines the study of wailing as a genuine methodological challenge. Gamliel brings a sensitive eye to the vanishing practice of wailing, which has been largely unexamined by scholars and may be unfamiliar to many outside of the Middle East. Her interdisciplinary perspective and her focus on a uniquely female immigrant cultural practice will make this study fascinating reading for scholars of anthropology, gender, folklore, psychology, performance, philosophy, and sociology.
The Legacy of Krzysztof Kieślowski
Polish filmmaker Krzysztof Kie?lowski died unexpectedly in March 1996 at precisely the moment he had reached the height of his career and gained a global audience for his work with the Three Colors trilogy (1993–94). Since his death he has been hailed as one of the greatest and most influential directors of all time, elevated to the elite of world cinema alongside Jean Renoir, Robert Bresson, Federico Fellini, Yasujiro Ozu, Max Ophüls, and Andrei Tarkovsky. In After Kie?lowski, leading contributors diverge from the typical analysis of Kie?lowski’s work to focus on his legacy in films made after his death, including those based on his scripts and ideas and those made entirely by other filmmakers. Kie?lowski’s rich legacy is rooted in not only a very significant body of early work made before his breakthrough films but another trilogy of films that he had been working on prior to his death, several of which have gone on to be produced. Furthermore, actors and assistant directors involved with Kie?lowski also made films that develop his earlier, incomplete projects or that derive thematically and stylistically from his work. After Kie?lowski considers Kie?lowski’s legacy from three broad perspectives—the Polish, the European, and the global. Contributors trace his direct influence on filmmakers in Poland and Europe, including Jerzy Stuhr, Krzysztof Zanussi, Emmanel Finkiel, Julie Bertucelli, and Tom Tykwer, as well as points of thematic coincidence between his work and that of Jean-Luc Godard, P. T. Anderson, David Lynch, Michael Haneke, Abbas Kiarostami, and Paul Haggis. This collection also traces the reemergence of Kie?lowski’s unique visual signature in films by Ridley Scott, Santosh Sivan, John Sayles, and Julian Schnabel, and his highly original use of television serial-narrative form that is echoed in at least two major American television series, HBO’s Six Feet Under and ABC’s Lost. Examining Kie?lowski’s legacy is a way of thinking both about the unique features of Kie?lowski’s work and about issues that are now at the heart of contemporary filmmaking. Film scholars and students will appreciate this groundbreaking volume.
The full-length debut from francine j. harris, allegiance is about Detroit, sort of. Although many of the poems are inspired by and dwell in the spaces of the city, this collection does not revel in any of the cliché cultural tropes normally associated with Detroit. Instead, these poems artfully explore life in a city where order coexists with chaos and much is lost in social and physical breakdown. Narrative poems on the hazards, betrayals, and annoyances of city life mix with impressionistic poems that evoke the natural world, as harris grapples with issues of beauty and horror, loyalty and individuality, and memory and loss on Detroit’s complicated canvas. In twelve sections, harris introduces readers to loungers and bystanders, prisoners’ wives, poets pictured on book jackets, Caravaggio’s Jesus, and city priests. She leads readers past the lone house on the block that cannot be walked down, through layers of discarded objects in the high school yard, and into various classrooms, bars, and living rooms. Shorter poems highlight the persistence of nature—in water, weeds, orchids, begonias, insects, pigeons, and pheasants. Some poems convey a sense of the underbelly, desire, and disgust while others treat issues of religion, both in institutional settings and personal prayers. In her honest but unsentimental voice, harris layers personal history and rich details to explore how our surroundings shape our selves and what allegiance we owe them when they have turn almost everything to ashes. Throughout allegiance, harris presents herself as an extraordinarily perceptive poet with a compelling and original voice. Poetry lovers will appreciate this exciting debut collection.
A Michigan Soldier’s Civil War Journal
Though many Union soldiers wrote about their experiences in the American Civil War, few had the vantage point of William Horton Kimball, a member of the First Michigan Engineers and Mechanics. As a military engineer, Kimball spent most of his time behind the major lines of conflict and often worked among civilians who sympathized with the enemy. In Among the Enemy: A Michigan Soldier's Civil War Journal, author Mark Hoffman presents Kimball's journal as a unique window into wartime experience. Kimball was a prolific writer, and his journal is full of detailed accounts of expeditions into a hostile countryside, the bitter war against guerillas, and of the civilians caught in the middle of a traditional war waged with nontraditional means. He comments freely and openly on the strengths and weaknesses of his officers and comrades caught up in the same war. At the same time, Kimball provides moving accounts of when the Engineers were thrown into the line of battle at Perryville and Lavergne and proved themselves as soldiers capable of traditional combat. Through Kimball's account, readers can chart the important evolution of Union war policy regarding occupied populations, as well as how the American views of warfare broke down when combat moved from battlefield to countryside and soldiers in the rear became important targets for enemy action. Civil War historian Mark Hoffman introduces Kimball's writings and provides some background on Kimball's life as a soldier. He accompanies the journal entries with illustrations and maps. Kimball's account reminds readers that there was a time when Americans who honored the same founders and national holidays were seeking to kill each other in a bitter war behind the lines of traditional armies. Readers interested in military history and the Civil War will enjoy the inside perspective of Among the Enemy.